专辑英文名: The Black Saint and the Sinner Lady
歌手: Charles Mingus
音乐风格: 爵士
资源格式: FLAC
版本: Original Recording Reissued
发行时间: 1995年11月07日
地区: 美国
语言: 英语
简介:
唱片公司：Grp Records
发行时间：Original (1963), Reissued (1995)
音乐风格：Jazz / Third Stream / Avant-Garde Jazz
压缩比率：FLAC (lossless)
专辑介绍：
1963年Mingus发行专辑The Black Saint and the Sinner Lady ,这张专辑号称爵士史上,以管弦乐编曲法制作最有成就的专辑之一,有许多乐迷认为也是Mingus最经典的专辑.唱片封套说明文字中暗指The Black Saint and the Sinner Lady是Mingus对自我心理精神状态的审视,爱与挣扎正一点一滴折磨着灵魂.
多方情愫来回穿梭,让这张专辑不易也反抗商业包装,话说回来,要将这些情愫吸收在同一张专辑中更是困难,从多层次组织与晕眩的音调色彩,在这些声音画家调配下,确实使The Black Saint and the Sinner Lady成为名著.多方情愫来回穿梭,让这张专辑不易也反抗商业包装,话说回来,要将这些情愫吸收在同一张专辑中更是困难,从多层次组织与晕眩的音调色彩,在这些声音画家调配下,确实使The Black Saint and the Sinner Lady成为名著.
The Black Saint and the Sinner Lady将以下特色纳入参考- Duke Ellington的音乐,当代avant-garde,佛朗明哥吉他- 整理后却又不像有各自拆开的上述元素- 吹奏出拟人声的管乐器, tuba 与低音萨克斯风发出大量低频的声调, Mingus 在这两者间拉出对比,加上中音木管手Charlie Mariano 突显出相当抒情的氛围. The Black Saint and the Sinner Lady将以下特色纳入参考- Duke Ellington的音乐,当代avant-garde,佛朗明哥吉他-整理后却又不像有各自拆开的上述元素-吹奏出拟人声的管乐器, tuba与低音萨克斯风发出大量低频的声调, Mingus在这两者间拉出对比,加上中音木管手Charlie Mariano突显出相当抒情的氛围.
架构上Mingus 运用错位的旋律,和不协调的,悲啼似的声线层层铺陈,这种作法首度尝试,虽然前几张作品的风格彷彿是一具大火把,不过拥有这张专辑的听眾,不需要依靠故事协助,即可进入煎熬,悲伤,狂喜,挫折,压抑,复杂的音乐世界.架构上Mingus运用错位的旋律,和不协调的,悲啼似的声线层层铺陈,这种作法首度尝试,虽然前几张作品的风格仿佛是一具大火把,不过拥有这张专辑的听众,不需要依靠故事协助,即可进入煎熬,悲伤,狂喜,挫折,压抑,复杂的音乐世界.
担任演奏的11 名乐手曾在纽约的Village Vanguard (前卫村俱乐部) 彩排过, Mingus 允许他们做更深或更有变化的表演,不过一旦进了录音室, Mingus 严格要求录制到尽善尽美的境界,仰赖先进的混音技术,让The Black Saint and the Sinner Lady成为60 年代不朽的爵士专辑.担任演奏的11名乐手曾在纽约的Village Vanguard (前卫村俱乐部)彩排过, Mingus允许他们做更深或更有变化的表演,不过一旦进了录音室, Mingus严格要求录制到尽善尽美的境界,仰赖先进的混音技术,让The Black Saint and the Sinner Lady成为60年代不朽的爵士专辑.
Charles Mingus (1922-1979)也是Charlie Mingus,是美国爵士贝斯手,作曲家,领团者,偶尔会弹钢琴,另外他也是种族歧视的反抗者.
Mingus 在爵士乐的作曲家与表演者领域中拥有崇高的地位,他录制超过100张专辑与300 首曲子创作,一打以上的爵士乐手曾在他的乐团麾下待过,日后发展出令人印象深刻的成绩,他的歌曲- 儘管旋律与特质- 不太被日后的乐手拿来录音,部分原因是Mingus 音乐的非传统性质.其影响力与创造力,让他成为乐团招集人,将有才华的乐手招募集合,演奏非传统型态的爵士乐. Mingus在爵士乐的作曲家与表演者领域中拥有崇高的地位,他录制超过100张专辑与300首曲子创作,一打以上的爵士乐手曾在他的乐团麾下待过,日后发展出令人印象深刻的成绩,他的歌曲-尽管旋律与特质-不太被日后的乐手拿来录音,部分原因是Mingus音乐的非传统性质.其影响力与创造力,让他成为乐团招集人,将有才华的乐手招募集合,演奏非传统型态的爵士乐.
Mingus有躁郁症倾向,他在极短期内创作出优异的作品,亦曾在长时期中鲜少出现好作品,其音乐大部分保留了hard bop的热情与灵魂风格,再添增浓浓的黑人福音曲风,有时也会加入第三流派爵士( Third Stream Jazz -以爵士与古典结合),或者free jazz (自由爵士).
Charles Mingus
.1982年受封爵士名人堂
.1995 年美国邮政管理局发行Charles Mingus 邮票
.1997 年获得葛莱美终身成就奖
Some Mingus albums are like a tremendous three-ring circus. You’ll laugh, you’ll cry, you’ll be struck with awe and delight. The music is absorbing, intense, harrowing, beautiful. Drop everything and run to the show, and don’t expect to get anything else done at the same time: this is about as far from background music as it gets. A great Mingus album is a totally involving experience. This is especially true of one of the only jazz albums to have liner notes written by a clinical psychologist: The Black Saint and the Sinner Lady. Mingus chimes in with a peroration of his own, too, including, "I feel no need to explain any further the music herewith other than to say throw all other records of mine away except maybe one other [unnamed]." Anyone tempted to take this advice should be committed to the observation ward at Bellevue Mingus graced with his presence not long before making this record, but the music itself deservedly holds its creator’s high estimation.
The Black Saint and the Sinner Lady is a six-part suite (four CD tracks) recorded in 1963. Impulse has given it the 20-bit treatment; few recordings have been more deserving. This suite is a feast of virtuoso performances, shifting moods and textures, and detailed background work by Mingus’ eleven-piece band. Jerome Richardson is heard to great effect on baritone sax near the beginning of the work; he contributes some beautifully supportive flute (with Dick Hafer) and soprano elsewhere. Quentin Jackson’s trombone work is arresting, and the other hornmen (Rolf Ericson and Richard Williams on trumpets, Don Butterfield on tuba, Hafer on tenor sax as well as flute) are excellent. But the pervasive voice of the entire piece is Charlie Mariano on alto sax. Mariano’s playing is wrenchingly emotional and evocative, conveying pathos, fervor, and undying conviction. But as wonderful as Mariano’s work is here, this is very much a group effort. Especially in the last three sections (CD track four) of the piece, this is music of group interaction. Solo voices emerge from the welter and are drawn back into it. Occasionally the ferocity of each voice clamoring with the others reaches such a furious intensity that it would take just one more step for it to reach the world of the medium-sized group free jazz that would be recorded not long after this album: Albert Ayler’s New York Eye and Ear Control, Coltrane’s Ascension, etc. Then in an instant the ensemble stops on a dime with a unison statement executed with high-energy precision. It is an extraordinary thing to hear.
The rest of the ensemble includes Mingus on bass and, briefly, piano; Jaki Byard on piano; Jay Berliner with a marvelous flamenco guitar bit; and the incomparable Dannie Richmond on drums. This is a masterwork that should be part of any jazz collection, except perhaps of those listeners who prefer that music not challenge, inspire, and move them.
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